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I concur with the view that exposure is a real killer. I do lots of theatre stuff here in the UK and find the auto exposure modes to be troublesome – especially as lighting often changes rapidly and the iris ramps up and down in very mechanical ways. I usually get them to put up a full up type state – often the finale, and use this to assess the brightest it will be then use this as a guide. One very difficult thing is handling follow spots – the white circle is often a discharge source, and very blue, and very, very bright- so exposing for this takes the shadows and other darker areas down to almost black, but you can’t over-expose that much without burning out all detail.
I too usually select 3200, or even 2800 on all the cameras. This means the least amount of adjustment in post. It also means the follow spots are very blue. Costumes frequently render in very odd colours depending on the stage lighting – yellows look strange with red lighting, which is quite common. Blue lighting often lacks definition when seen through the cameras and red can tend to look too red.
My experience is that mixing different brands under stage lighting is quite difficult. JVC to me looks fairly hard and always a little blue. Sony, are more biased towards the red end. In daylight I don’t have trouble balancing them together, but stage lighting is not so forgiving.